루치아노 베리오: 4개의 헌정
역사
- 작곡 연도:
- 작곡 장소:
- 헌정, 계기:
- 초연 연도:
- 초연 장소:
- 초연자:
해설
[1] Luciano Berio’s Quatre Dédicaces – Bagatelles only at first glance Between 1978 and 1989 Luciano Berio – one of the 20th century’s most original and undogmatic composers – produced four short works for similar occasions, scored for large orchestra. Encore, written in 1978 and revised in 1981, was commissioned by the Rotterdam Philharmonic Orchestra on the occasion of its 60th anniversary, Entrata was written in 1980 for the San Francisco Symphony and principal conductor Edo de Waart, and Fanfara in 1982 for the RAI Orchestra of Rome. Festum was commissioned by the Dallas Symphony Orchestra in 1989 for the opening of Myerson Symphony Center. His assistant Paul Roberts suggested to the composer that he put the four pieces together as a cycle. The idea was realized only after Berio’s death (2003) by Pierre Boulez, who determined the order of the cycle and gave it an appropriate title, Quatre Dédicaces (Four Dedications).
Berio himself said of two of the four pieces: “Encore … is a short ‘jeu d’esprit’, a miniature of orchestral bravura particularly suited, as indicated by the title, for the closing of a concert. It was later integrated into La vera storia where it became the opening episode of the second part. The text by Italo Calvino, which had been incorporated into the first part of the work, undergoes transformation und ‘deconstruction’ in the second part. Entrata is intended as a brilliant exhibition of orchestral sonorities. The term ‘entrata’ indicates a short introductory piece with a festive, ceremonial character.”
Even at first hearing there is much to discover in these four miniatures. Fanfara seems to emerge from nowhere and takes shape only gradually. The composer “frustrates” our expectations by not delivering the festive, ceremonial brass sounds evoked by the title. But there is much brass writing, as well as various forms of heterophony, to be heard in the more playful, strongly pulsating inner pieces, Entrata and Festum, and even in the closing Encore, which exhibits motor rhythms and jazz allusions but ends like a expiring breath. Helge Grünewald (번역: 고클래식)
